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Degree of Murder
“Starring Anita Pallenberg” and “Music by Brian Jones” are the big sells of Degree of Murder (Mord und Totschlag in the original German), a weird trifle from 1967 seemingly designed to showcase the almost unbearable cuteness of Pallenberg and little more. If you’re steeped in the culture of the times, no further details about these people is necessary, but if not, then Pallenberg was at the time rock chic numero uno – though Marianne Faithfull might have challenged her to the title – being the girlfriend of the founder of the Rolling Stones, Jones. Jones is harder to explain in a nutshell, though Nick Broomfield’s excellent documentary, The Stones and Brian Jones, does … Read more
R.M.N.
The state of the Romanian nation is what Cristian Mungiu’s films tend to be about – Occident, 4 Months, 3 Weeks and 2 Days, Tales from the Golden Age, Beyond the Hills and Graduation have all dealt in various ways with the country’s escape (or not) from the Communist-era Ceaușescu regime and its progress towards integrating, more or less, with modern Europe. R.M.N. could be a truncated textspeak-y way of writing “Romania” but in fact it’s an acronym standing for Rezonanță Magnetică Nucleară, Magnetic Resonance Imaging in English, and that, in a sense is what the film is – a 360º scan of the nation, where the same grand game is going on as … Read more
100 Years of… The Phantom Carriage
The Phantom Carriage is something of a phantom movie. Loved by Ingmar Bergman, who rewatched it every year and claimed it inspired him to get into film-making, it was also adored by Charlie Chaplin, who called it the best film ever made. Stanley Kubrick was also a fan, and lifted one of his most iconic sequences – Jack Nicholson axing through a door in The Shining – directly from it. But how many people have actually seen this classic? Bergman, Chaplin, Kubrick, this is clearly a film with “bottom” but it also has plenty going on up top. In short, it’s a Dickensian tale of a man who has lived a life as an … Read more
Code Blue
Code Blue is the second of six (as of June 2023) features by Poland-born, Netherlands-based film-maker Urszula Antoniak, and the second one I’ve seen. The first one I saw, Magic Mountains, was made in 2020, nine years after Code Blue but both feature single women locked in near-mortal struggles, with intimacy an issue. Does that make this a feature of her work or a coincidence? Three’s a trend, as they say, so I don’t know. Either way, Antoniak is someone to watch. She has a way with space and sound, and on the evidence of the work I’ve seen, makes stylish films bristling with menacing moods and atmospheres of psychological imperilment. There is … Read more
Whirlpool
A diabolically brilliant plot is the making of Whirlpool, a very noirish whodunit from 1950, which gets off to a flying start with a rich psychiatrist’s wife, played by Gene Tierney at her most fragile, being caught shoplifting in a department store. Within seconds it’s been revealed that Ann Sutton (Tierney) is a kleptomaniac but rather than take her problems to her husband, the city’s go-to guy for mental problems, she’s been keeping her secret dark, which has now laid her open to manipulation by David Korvo (José Ferrer), a hypnotist, astrologer and all-round quack who is soon putting the squeeze on Mrs Sutton – she initially thinks he wants money or sex, … Read more
Translations
A guy turns up at a young woman’s house unannounced. He’s a photographer who’s been travelling the world. She’s an agoraphobic shut-in cut off from everything. But they have something in common. Two things, in fact. A dead person who they both once knew, in different ways. And feelings for each other, which Evan (Alan Emrys) and Stef (Kate Morgan-Jones) are going to struggle to get into the open. That difficulty – communicating one person to another, translating emotions into words – is really what Translations is all about. It’s a strange film unafraid to head off in its own direction. A simple two-hander for the most part about two old friends (lovers?) catching … Read more
The Legend of Rita
When Germany reunified after the fall of the Berlin Wall it wasn’t so much a merger as a hostile takeover – the Federal Republic swallowed the German Democratic Republic whole and set about digesting it. One way of doing things had lost and the other had won. You might have expected a certain amount of crowing from the winning side. And there probably was some, but overall the notable thing about post-unification Germany has been the lack of it. Again and again, if it’s made in Germany for German consumption, there’s an eagerness to demonstrate – to insist, almost – that the GDR wasn’t all bad. In fact, the new consensus seems to … Read more
Reality
A couple of FBI agents turn up at the house of a young woman called Reality Winner as she arrives home with some groceries. They have a warrant to search the property, they say. Reality’s reaction is on the range of the expected, somewhere between stunned and acquiescent. But she seems to be taking this sudden intrusion in her stride, attempting to carry on as normal though appearing unsure as to what normal looks like when the FBI has just arrived. The FBI guys ask Reality if she has any pets inside the house, whether there are guns in there, if anyone else might be in there. Reality behaves as if she has … Read more
The Big Combo
The Big Combo has a big reputation. A regular on the “best film noir” lists, it can’t quite match its rep and is more a solid crime thriller that’s been polished to a stygian gleam by excellent technicians, well chosen actors and some careful snaffles from other sources. The most obvious lift is from 1944’s Laura and its strange plot device of a cop falling in love with the image of a woman rather than the woman herself. That’s also what happens in The Big Combo, when upright and driven Lieutenant Leonard Diamond (Cornel Wilde) becomes infatuated with a mobster’s gal, Susan Lowell (Jean Wallace), even though he’s never met her. Susan is … Read more
I Love My Dad
When James Morosini was about 19 he and his dad got into a huge fight. James ended up blocking all connections to him – phone, email, social media, the works. A few weeks later James got a friend request from a pretty girl on Facebook. “I was thrilled,” James later said in an interview. “She was perfect. We shared the same interests, she was gorgeous… Things were looking up. Unfortunately, she was also my dad.” Fast forward about a decade after that fight and here’s I Love My Dad, a comedy about what happened when a teenager gets catfished by his own dad, with Morosini in the lightly fictionalised role of Franklin, Patton … Read more
Moonrise
Having worked pretty consistently for 30 years, director Frank Borzage more or less bowed out with Moonrise in 1948. Ten years later he’d return with a couple of afterthoughts, but in the main this was it, his last picture. He’d been one of the big players of the silent era – when the Oscars were invented in 1927 he won the very first one for Best Director – and this goodbye is in a sense a farewell to all that. It’s also partly intended as a bookend to Sunrise, directed by fellow 1920s Fox director FW Murnau, a lament to a certain style of visual lyricism that disappeared with the dawn of the … Read more
John Wick: Chapter 4
Since the last appearance of John Wick, in 2019, Keanu Reeves has been in a Toy Story movie, a Spongebob movie, a Matrix movie and has voiced Batman in the animation Super Pets. Not bad for someone whose career at first glance alternates insane bursts of activity with lengthy snoozes. And so to the insanely grandiose John Wick: Chapter 4, another case of not much seeming to happen punctuated with frenzies of excitement. It’s the first film in the sequence not written by Derek Kolstad, who first pitched the idea of a supercool and unstoppable assassin re-entering the fray after his dog is killed in a screenplay originally titled Scorn. Keanu Reeves liked … Read more
